​​at the Spoleto USA Festival:
"Early this week, I discovered the extraordinary Canadian baritone Tyler Duncan, who made his chamber music series debut with a rendition of Robert Schumann's masterpiece for solo voice and piano...Dichterliebe...Duncan has one of those perfect lieder voices: flexible, expressive, consistent in tone and pitch.  He also has the requisite dramatic flair and the intelligence to convey the meaning of the poetry by Heinrich Heine.  He did so, and more, on Sunday.  

Singing Dichterliebe requires physical and mental stamina.  It's not enough to express the essence of each song; the performer must find the narrative through-line, the emotional arc.  He must embody the heartbroken lover recalling, fondly at first, his blooming desire and amorous bliss, then progressing into the bitterness, anger and sorrow felt by someone spurned.

Duncan expertly conveyed all of this, singing from memory.  He had internalized each phrase and devised a convincing character for the stage who bemoaned in beautiful phrases his heartache.

Duncan seemed relaxed on stage and he sang with confidence, his lyrical voice clear, his diction crisp but not artificial.  It's not often one gets to hear this (or any) song cycle performed live, in its entirety, by such graceful and competent musicians.

On Wednesday, Duncan was back on stage at the Dock Street, this time to perform Beethoven's An die ferne Geliebte ("To the distant beloved"), accompanied on piano with panache by his wife Erika Switzer.

Duncan and Switzer performed this the first time when they were both students.  It was evident that they, too, take An die ferne Geliebte personally. Together, they traded the emotions expressed in the poetry; they shared the musical phrasing, knowing in advance what the other would do."
                                                                                                                                                                      -The Post and Courier 

"Carmina Burana is no modest undertaking, and for once the San Diego Symphony assembled all the right players on the field for the big game...
Baritone Tyler Duncan easily won over the audience with his coy depiction of the young swain or the tipsy abbot, and he found for each role an appropriate color in his well-trained, resonant voice.  The top of his range sported a confident tenorial timbre, and he was able to slip in and out of his pleasing falsetto - a trick Orff indulged in with impunity - gracefully."
                                                                                                                                                                   -Ken Herman, SanDiegoStory.com

New York's Bard Music Festival:
"On August 8 came the program "The Song Cycle as Drama," featuring an excellent performance of Winterreise in the intimate, acoustically fine Olin Hall.  Baritone Tyler Duncan and his fellow Canadian, pianist Erika Switzer (piano) gave a musically straightforward and deeply affecting account, winning deserved audience tributes.  Duncan, who's scored in Baroque music, seems poised to continue the Lieder singing legacy of his countrymen Gerald Finley and Russell Braun, sharing their virtues of tonal beauty, interpretive restraint and dynamic mastery.  It's a manly, beautifully graded sound, capable of tenorish resonance and bass underpinnings.  His gestures and stances were forthright, never melodramatic, and his German excellent.  Switzer offered musically cogent, dynamically pliable and consistently responsive playing.  This Winterreise proved highly memorable."
                                                                                                                                                                                        -David Shengold, Opera News                                        

Minneapolis Recital Debut :
"On Tuesday evening, I caught a wonderful recital by Canadian baritone Tyler Duncan and collaborative pianist Erika Switzer. They performed sets of songs about childhood, travel, love and loss from the first half of the 20th century, the words coming mostly from Robert Louis Stevenson and Indian Nobel laureate Rabindranath Tagore, the music from Reynaldo Hahn, Darius Milhaud, Erich Korngold and Ralph Vaughan Williams.  Bringing the songs to lovely life were Duncan and Switzer, a team that achieved an admirable balance between piano and voice, urgency and reflection, power and playfulness.

There was no printed text in the program, but none was needed, for the lyrics were all in English and Duncan's articulation was immaculate.  He used his very expressive face to humorous effect when he released his inner child (be he exuberant, frightened or pouty) on Hahn's Five Little Songs and Milhaud's Child Poems.  On the latter, Switzer skillfully brought out the jazz-inflected harmonies that inspired Milhaud student Dave Brubeck.  

Korngold was known as a film composer, and Duncan made each of his Five Songs absorbingly cinematic, especially Wings, an arresting, grief-tinged carpe diem.  But the evening peaked with Vaughan Williams' Songs of Travel, a setting of nine poems by Stevenson with a plethora of sharp contrasts in mood.  Duncan and Switzer ably conveyed the valedictory feel of the final three songs, sadness at the memory of an irretrievable past giving way to consolation from the immortality of art."  
                                                                                                                                                                 -The Saint Paul Pioneer-Press 

Boston Early Music Festival performances of Handel's first opera, Almira:

"Tyler Duncan’s resonant baritone combined lyrical and dramatic qualities that were just right for the Moorish Raymondo..."   

"Tyler Duncan, baritone, brought regal bearing and commensurate noble tone to his role as Raymondo, a mysterious and early-on disguised King of Mauretania..."   
                                                                                                                                                               -The Boston Musical-Intelligencer
 New York Philharmonic debut, Masaaki Suzuki conducting:

"Tyler Duncan produced his refined baritone with care and artistry and dispatched yards of neat coloratura."
                                                                                                                                                                              -Opera News Online

Chautauqua Festival debut in the Brahms Requiem:

"...Duncan entered in passages high in his range with excellent diction and very impressive expression in Herr, lehre doch mich.  The exchanges between Duncan and the chorus seemed like conversation..."
                                                                                                                                                                         -The Chautauquan Daily

Mozart’s Die Zauberflöte at the  American Spoleto Festival:

"First, a mention of Canadian baritone Tyler Duncan, who plays the Speaker/First Priest:  His wonderful voice is honey-coloured and warm, yet robust and commanding.  When he first came on stage, his back was to the audience, but his authoritative singing absolutely focused our attention."
                                                                                                                                                                               -The Globe and Mail

Brahms Requiem with Christopher Seaman and the Rochester Philharmonic:

"What left me wanting more were the few solo lines of baritone Tyler Duncan.  What a fantastic voice:  Natural talent, technical skill, and thorough training.  Duncan's program notes mention music degrees from Munich and Augsburg, and it showed.  His pronunciation and elocution of the German text was so well done, each word could be understood all the way to the balcony.  I can only hope that he will soon return to Rochester for a concert in which he is featured."
                                                                                                                                                                       -(Rochester) City Newspaper
"Guest baritone Tyler Duncan, making his RPO debut, dispatched his solos with dramatic urgency.  Given a little poetic license, you could describe his voice as an iron fist in a velvet glove:  great carrying power with a sensuous edge."
                                                                                                                                                            -(Rochester) Democrat and Chronicle

Messiah with Kent Tritle and Musica Sacra in Carnegie Hall:

"The baritone Tyler Duncan delivered the texts with a powerful voice and dramatic conviction, enunciating the words with appropriate bite.  The energetic applause after The  Trumpet Shall Sound was merited by both Mr. Duncan's passionate singing and the vibrant playing of the trumpeter Scott McIntosh."
                                                                                                                                                                              -The New York Times 

Concert with Toronto’s Tafelmusik:

“Duncan is one of those rare lyric baritones with rich, full low notes—ideal for singing Bach’s music.  His showpiece was the sacred solo Cantata No. 82, Ich habe genug.  Duncan showed tremendous sensitivity to the music, while bringing out the wide emotional and dramatic range of the text .   His singing was equally winsome in two airs from other sacred Cantatas, O du angenehmes Paar is a slight, wistful-sounding piece with a particularly inventive accompaniment.  Lasset dem Höchsten is a boisterous song of thanks that made an ideal cap to a sehr gemütlich (very cozy – intimate, in a friendly sense) musical evening.”
                                                                                                                                                                                     -The Toronto Star

Demetrius in Britten’s A Midsummer Night’s Dream at the Princeton Festival:

"As the young Athenians, especially Tyler Duncan (a robust-voiced Demetrius)  gave dramatically nuanced and vocally solid performances.” 
                                                                                                                                                                                 -The New York Times

In recital:

"Duncan's Sleep, with its truncated phrases and long pauses, was delicious; and his full and leisurely baritone gave Winter a gravitas it would not otherwise have had, settling over the orchestra's active triple meter and weighing it down like a storm cloud."                                                                                                                                                                                            

                                                                                                                                                                                 -The New York Times

"In the very first song of Tyler Duncan’s recital at Weill Hall, something unusual happened; he found the emotional center and struck it with such poignancy that not a sound could be heard from anyone in the audience.  Mr. Duncan’s vocal technique is solid and secure, with a sound that has warmth and power in the middle to low register, and delicate refinement in the upper reaches.”
                                                                                                                                                                                      -The Toronto Star

Tyler Duncan


Tyler Duncan 

Tyler Duncan Press

Baritone TYLER DUNCAN brings consummate musicianship, vocal beauty and interpretive insight to recital, concert and operatic literature.  He has appeared with the New York Philharmonic in Messiah under Andrew Manze, a Mendelssohn/Bach program under Masaaki Suzuki and as soloist in Poulenc’s Le bal masqué for chamber ensemble;  made countless appearances with Les Violons du Roy/Bernard Labadie, the Toronto Symphony/Peter Oundjian, Montreal Symphony/Kent Nagano, Toronto's Tafelmusik, Ottawa's National Arts Centre Orchestra and at the Oregon Bach and Bard Music Festivals.   He recently gave highly acclaimed recitals  in Houston, New York and Montreal; made his Minnesota Orchestra under Helmuth Rilling and starred in Nic Gotham's  Nigredo Hotel at City Opera Vancouver and the world premiere of Jonathan Berger's Leonardo at New York's 92nd Street Y.   His current season included debuts with the San Francisco Symphony (Stravinsky's Canticum sacrum under Michael Tilson Thomas)  and Kansas City Symphony (Beethoven Mass in C led by Matthew Halls).

Mr. Duncan's roles at New York's Metropolitan Opera include Yamadori in Madama Butterfly and Fiorello in Rossini's Il Barbiere di Siviglia.  

At the American Spoleto Festival he sang Friendly in the 18th-century ballad opera Flora and the Speaker in Mozart's Die Zauberflöte.   He has sung Dandini in Rossini's La Cenerentola with Pacific Opera Victoria, Demetrius in Britten's A Midsummer Night's Dream at the Princeton Festival;  roles in Lully's Armide with Houston's Mercury Baroque;  Purcell's The Faerie Queen and King Arthur with Early Music Vancouver, and Papageno in Mozart's Die Zauberflöte for Greensboro Opera.   He also sang the Speaker at France’s Angers-Nantes Opéra,  Raimondo in the Boston Early Music Festival production of Händel’s Almira and made his Japanese debut  in Bizet's Carmen under Seiji Ozawa.

Concert appearances include the San Diego, Baltimore, Québec, American, Puerto RIco, Milwaukee, Seattle, Utah, Winnipeg, National Symphonies, Rochester and Calgary Philharmonics.  He sang Beethoven's Ninth Symphony in Berlin, Frankfurt, Stuttgart and Munich with the Philharmonie der Nationen; Handel's Messiah with Boston's Händel and Haydn Society, Portland Baroque Orchestra and San Francisco's Philharmonia Baroque under Nicholas McGegan; Brahms' Requiem at the Chautauqua and Berkshire Choral Festivals;  Bach's St. Matthew Passion  with the Munich Bach Choir and Dresdner Kreuzchor; and Vaughan-Williams' Five Mystical Songs at Carnegie Hall with the Oratorio Society of New York under Kent Tritle.    

Mr. Duncan's considerable gifts in the realm of art song have earned him prizes from the Wigmore Hall (London) and ARD (Munich) Competitions; Joy in Singing, Naumburg and New York Oratorio Society Competitions;  Prix International Pro Musicis and the Bernard Diamant Prize from the Canada Council for the Arts.   He holds music degrees from the University of British Columbia; Germany's Hochschule für Musik (Augsburg) and Hochschule für Musik und Theater (Munich).  He is a founding member on the faculty of the Vancouver International Song Institute.   Frequently accompanied by pianist Erika Switzer, he has given acclaimed recitals in New York, Boston, Paris and Montreal, as well as throughout Canada, Germany, Sweden, France and South Africa.    

Recordings include the title role of John Blow’s Venus and Adonis, Bach’s St. Matthew Passion with Portland Baroque, Purcell works and Carissimi’s Jepthe with Les Voix Baroque, a commercial DVD of Messiah with Kent Nagano and the Montreal Symphony, and Honegger/Ibert's L'Aiglon with the same forces.

Bacalov                                                                 Missa Tango

J.S. Bach                                                          

B Minor Mass, Magnificat, St. Matthew Passion, St. John Passion, Weihnachtsoratorium, Ich habe genug, many Cantatas

Barber                                                                  Dover Beach

Beethoven                                                         Symphony No. 9

Berg                                                                     Lulu (Journalist)

Berlioz                                                                  L’enfance du Christ

Bizet                                                                      Carmen (Morales)

Blow                                                                      Venus and Adonis (Adonis)

Brahms                                                                 Ein deutsches Requiem, Vier ernste Gesänge, Die schöne Magelone

Britten                                                                  A Midsummer Night's Dream (Demetrius), War Requiem, Cantata Misericordium

Debussy                                                               3 Ballades de François Villon

Donizetti                                                              La Cenerentola (Dandini)

Duruflé                                                                 Requiem


Dream of Gerontius

Fauré                                                                    Requiem, La bonne chanson,  L’horizon chimérique

Finzi                                                                     Let us Garlands Bring

Gounod                                                               St Cecelia Mass

Handel                                                                  Almira (Raymondo), Messiah, Judas Maccabaeus, Israel in Egypt, La Resurrezione

Harbison                                                              The Flight into Egypt

Haydn                                                                   Die Schöpfung, Die Jahreszeiten, Harmoniemesse, Lord Nelson Mass, Paukenmesse, Theresienmesse

Ibert                                                                      Don Quichotte

Janáček                                                                Glagolitic Mass

Mahler                                                                 Symphony No. 8, Lieder eines fahrenden Gesellen, Rückert Lieder

Martin                                                                  Golgotha

Mendelssohn                                                    Elijah, Paulus

Monteverdi                                                        Vespers of 1610

Mozart                                                                 Le Nozze di Figaro (Count Almaviva), Die Zauberflöte (Papageno;
Der Sprecher), Requiem, Mass in C

Orff                                                                        Carmina Burana

Puccini                                                                  Madama Butterfly (Yamadori)

Purcell                                                                  King Arthur, The Fairy Queen

Poulenc                                                                Le bal masqué, Le travail du peintre

Ravel                                                                   Don Quichotte à Dulcinée, 5 Greek Songs

Rossini                                                                  Il barbiere di Siviglia (Fiorello), Petite Messe Solenelle

Ryan                                                                    Afghanistan: Requiem for Peace

Saint-Saëns                                                        Oratorio de Noël

Schubert                                                              Winterreise

Schumann                                                           Das Paradis und die Peri, Dichterliebe, Liederkreis, Op. 24

Vaughan-Williams                                            Five Mystical Songs, Sea Symphony

Mahler:  Revelge

Nigredo Hotel​, Vancouver City Opera, 2018

Mache dich, mein Herze, rein

Bach's St. Matathew Passion

with recital partner, pianist Erika Switzer:

Poulenc's Le bal masqué:

"Veering from madcap brassy triumph to cafe-music suavity, the work here received a lively, agile performance from Mr. Duncan, his delivery light and natural, and a team of excellent players."

                                                                                                                                                                                  -​The New York Times

Tyler Duncan BIOGRAPHY

Tyler Duncan Photos

                                Photo Credit:   Tatiana Daubek

"Live" performance of Shostakovich Michelangelo Songs at the Metropolitan

Museum of Art, February 11, 2018

Viewable on FACEBOOK



Link to Tyler Duncan's audio page on his website:


Cherry Tree Farm by Camille Saint-Saëns - with Erika Switzer, pianist

Dover Beach  by Samuel Barber - with The St. Lawrence String Quartet

In darkness let me dwell -by John Dowland - with Kevin Payne, lute

Bach:  St. Matthew Passion

Am Abend da es kuehle war 

​Mache dich, mein Herze, rein

Chicago's Music of the Baroque, 2019, with Mta. Jane Glover.

World-premiere Leonardo, 92nd Street Y, 2019

"Tyler Duncan’s new disc of English-language songs by French composers is a treasure trove of surprising and understated delights.   Sometimes the simplest ideas are the best, and so it proves here. Baritone Tyler Duncan has recorded an album of songs by French composers with one thing in common: they were all composed to English texts. The accompanying booklet makes the slightly sweeping statement that ‘the French tend to overlook the musical quality of languages, sometimes their own,’ but also highlights the French interest in English literature and its attraction for composers. Indeed, both Gounod and Saint-Saëns lived in England following the Franco-Prussian War of 1870. (Gounod had a most bizarre time of it with his hostess, amateur soprano Georgina Weldon, who was obviously a sandwich short of a picnic: after their falling out she refused to return his possessions to France, eventually sending his score of Polyeucte with her name scrawled across each page and then suing him.)

Duncan performs songs by the aforementioned composers as well as by Massenet, Hahn, Roussel, Poulenc, Milhaud and Ravel. The songs are generally very finely crafted and don’t particularly betray their cultural blend. Poulenc sets Shakespeare’s ‘Tell me where is fancy bred’ from The Merchant of Venice and copes well with stretching the rhythms of the rhyming couplets in a natural fashion. Gounod seems particularly attuned to the stresses of the lines he sets and his songs have a delightful flow. Hahn sails through his challenge of setting Robert Louis Stevenson poems into Five Little Songs with an almost childlike glee that belies their fleet yet sophisticated charms.

Not every text was originally English. Milhaud’s Child Poems and Two Love Poems are set to texts by Rabindranath Tagore, ‘the Bard of Bengal’. Though the Bengali texts are translated into suitably poetic English, I doubt many singers would relish enunciating the sibilance of ‘And why fruits are secretly filled with sweet juice: When I bring sweet things to your greedy hands’. But Duncan is a hugely accomplished singer and appears unfazed by the challenge. His diction throughout is superb in its clarity. You can hear glimpses of his Canadian accent in his open vowel sounds, and only comes to grief once, in Ravel’s setting of Burns’s Chanson écossaise; the album booklet points out that ‘the challenge for the singer is to capture the Scottish brogue without veering into caricature’. Duncan achieves the latter by generally avoiding the former – he has the Scottish tapped ‘R’, but the vowels are more Transatlantic: uncovered and bright rather than set forward. Similarly, his pronunciation of the name Maud is nearer ‘Mard’ rather than ‘Mord’. The name crops up in two songs based on Tennyson’s poetry (offering an alternative Come into the garden, Maud) by Massenet.

I can promise you that Duncan never sings a line that is not clear and comprehensible, not least because he has what sounds like a natural knack of balancing a phrase. I’m sure that this in fact took much work and preparation with his excellent pianist, Erika Switzer, who deftly manages the mood of each song. Duncan’s voice is a light baritone, perfectly knit through top to bottom. He can achieve remarkable transparency of tone, especially at the top, by choice not necessity. His sense of phrasing is sophisticated, once again because he has the technical ability – listen to how he manages the last verse of Gounod’s Sweet Baby, Sleep! and takes lines in one breath across the 6/8 time. He also has a deftsense of rubato without mauling the legato, displayed well in Gounod’s setting of Byron’s Maid of Athens. An excellent album of understated pleasures."

                                                                                                                                     -Opera Now                                               

Elliot Mandel Photography

Mahler:  Der Tamboursgs'ell 


Partial list of organizations that have presented Mr. Duncan:

American Bach Soloists

American Symphony

Asheville Symphony

Bach Collegium San Diego

Baldwin-Wallace Bach Festival

Baltimore Symphony

Bard Music Festival

Boston Early Music Festival

Calgary Philharmonic

Charlotte Symphony

Chautauqua Music Festival

City Opera Vancouver

Collaborative Arts Chicago

Da Camera of Houston

Duke Chapel

Early Music Vancouver

Edmonton Symphony

Evansville Philharmonic

Grand Philharmonic Choir

Grant Park Music Festival

Handel and Haydn Society

Indianapolis Chamber Orchestra

Kansas City Symphony

King's Chapel Halifax

Mercury Baroque of Houston

Metropolitan Opera

Milwaukee Symphony

Minnesota Orchestra

Mobile Symphony

Montreal Symphony

"Mostly Mozart" Festival

Music of the Baroque

Musica Sacra

Music Toronto

National Arts Centre Orchestra

National Philharmonic

National Symphony 

New Amsterdam Singers

Newfoundland Symphony

New York Philharmonic

Oratorio Society of New York

Oregon Bach Festival

Pacific Opera Victoria

Philharmonia Baroque

Portland Baroque Orchestra

Princeton Festival

Puerto Rico Symphony

Quebec Symphony

Rochester Philharmonic

San Diego Symphony

San Francisco Symphony

Seattle Symphony

Tyler Duncan

Repertoire List 

Spoleto USA Festival

St. Louis Bach Society

St. Thomas Choir New York City

Symphony Nova Scotia



The Orchestra Now

Toronto Symphony

Vancouver Bach Choir

Vancouver Cantata Singers

Vancouver Chamber Choir

Victoria Symphony

Les Violons du Roy

Winnipeg Symphony

Nigredo Hotel​, Vancouver City Opera, 2018

Opera                                                                                          * denotes cover
Da Vinci-Berger's Leonardo 92 St Y, New York 2019
Le Dancaïre*- Bizet's Carmen Metropolitan Opera 2019
Raymond-Gotham's Nigredo Hotel City Opera Vancouver 2018
Morales-Bizet's Carmen Seiji Ozawa Music Academy (Japan) 2017
Fiorello-Rossini's Il Barbiere di Siviglia, Metropolitan Opera 2017
Huntsman*-Dvorak's Rusalka Metropolitan Opera 2017
Grimbauld-Purcell's King Arthur Violons du Roy, Quebec 2017
Agamemnon-Golijov's Drag Down the Sky Saint Lawrence String Quartet 2017
Yamadori-Puccini's Madama Butterfly Metropolitan Opera 2016
Herald-Verdi's Otello Metropolitan Opera 2015/16
Fiorello-Rossini's The Barber of Seville Metropolitan Opera 2016
Journalist-Berg's Lulu Metropolitan Opera 2015
Prokesh-Honegger's L’Aiglon in concert Montreal Symphony 2015
Millhand-Shostakovich's Lady Macbeth of Mtsensk Metropolitan Opera 2014
Speaker-Mozart's Die Zauberfloete Angers Nantes Opera 2014
Huntsman-Dvorak's Rusalka Metropolitan Opera 2014

Stravinsky Canticum Sacrum San Francisco Symphony 2019
Misc. roles Operetta Concert Bard Music Festival 2019
Recital:  Eisler, Hageman, Schoeck songs Bard Music Festival 2019
Bach B Minor Mass Music of the Baroque, Chicago 2019
Recital:  Shostakovich Michelangelo Songs Off Centre, Toronto 2019
Arias/Pilatus Bach St. Matthew Passion Tafelmusik Toronto 2019
Misc. Cantatas American Bach Soloists, San Francisco 2019
Bach Weihnachtsoratorium Music of the Baroque Chicago 2018
Mahler Des Knaben Wunderhorn Lviv Philharmonic, Ukraine 2018
Recital:  Jussi Bjoerling Society Stockholm Sweden 2018
Shostakovich Michelangelo Songs The Orchestra Now, Met Museum, New York 2018
Beethoven Symphony No. 9 Toronto Symphony 2018
Orff Carmina Burana, Quebec Symphony, 2017

Bach B Minor Mass Tafelmusik Toronto 2018
Recital: Schubert Songs Wigmore Hall London 2017
Recital: Schubert Winterreise Da Camera, Houston 2017
Handel Messiah New York Philharmonic 2017

Bach Cantatas/Handel Messiah National Arts Centre Orchestra Ottawa 2017

P. Ecstaticus in Mahler Symphony No. 8 Calgary Philharmonic 2016
Beethoven Symphony No. 9 Mercury Orchestra, Houston 2016
Bach St. Matthew Passion  Orfeo Orchestra, Budapest 2016
Michael Torke Book of Proverbs Grant Park Music Festival Chicago 2016
Jesus in Martin's Golgotha New Amsterdam Singers NYC 2016
Poulenc Le bal masqué Barishnykov Arts Center NYC 2016
Poulenc Le bal masqué New York Philharmonic 2015
Britten War Requiem Berkshire International Festival 2015
Recital Schumann:  Liederkreis, Op. 24 New York Mostly Mozart 2015
Jesus in Bach's St John Passion Oregon Bach Festival 2015
Orff Carmina Burana San Diego Symphony 2015
Jesus in Bach's St. Matthew Passion Puerto Rico Symphony 2015

DVD of Handel’s Messiah, Montreal Symphony, Kent Nagano (CBC) 
Honegger/Ibert L’Aiglon, Montreal Symphony,  Kent Nagano
Vaughan-Williams Serenade to Music, Toronto Symphony, Peter Oundjian
Bach St. John Passion, Portland Baroque Orchestra, Monica Huggett, (AVIE)
Blow Venus and Adonis, Boston Early Music Festival, Paul O’Dette/Steven Stubbs, (CPO)
Staniland Go by Contraries, Erika Switzer, Martha Guth (Centrediscs)
Carissimi Oratorios, Les Voix Baroques (ATMA)
Brahms Liebeslieder Walzes and Solo Quartets (Sparks and Wiry Cries)

Nigredo Hotel​, Vancouver City Opera, 2018

Nigredo Hotel​, Vancouver City Opera, 2018

Video (link above):  Bass Arias from Bach's

St. Matthew Passion

Matthew Sprizzo

Artists 2020-2021


Nigredo Hotel​, Vancouver City Opera, 2018

click here for

Tyler Duncan, baritone

Erika Switzer, pianist

Video:  Schubert's Winterreise

Mahler:  Des Antonius von


Elliot Mandel Photography

New Recording!  - English Songs à la Française:

Bridge Records 9537 (bridgerecords.com/products/9537)

"British Columbia-born/New York-based baritone, Tyler Duncan, and his wife, pianist Erika Switzer, are internationally renowned performers as a duo, and individually. The clever idea of performing French composers’ settings of original English texts started when French baritone François Le Roux handed them Camille Saint-Saëns’ Cherry-Tree Farm score, set to Horace Lennard’s poetry. More of these Romantic/20th century songs were compiled, which, after their recital in Tours, led to this, their remarkable first duo album.

A literal who’s who of French composers successfully set the original English texts. Reynaldo Hahn’s Five Little Songs (1914), set to Robert Louis Stevenson’s words, are short children’s songs with tonal word painting like the florid piano lines behind lyrical vocals in The Swing, and colourful low vocal pitches with piano tremolo night sky effects in The Stars. Darius Milhaud’s settings of five Rabindranath Tagore Child Poems (1916) are operatic, such as the fully orchestrated piano part supporting lyrical emotional singing in the closing, The Gift. Love Maurice Ravel’s Chanson écossaise (1910) setting of Robert Burns’ text. Ravel emulates a Scottish quasi-bagpipe folk song without ever creating a parody. Jules Massenet’s setting of Alfred Lord Tennyson’s Come into the Garden, Maud (1880) foreshadows future musical theatre sounds. Poulenc, Roussel and Gounod works complete the recording. 

Duncan and Switzer deserve a “bilingual” standing ovation for their tight duo musicianship and colourful interpretations of these one-of-a kind art songs."

                                                                                                                                               -The Whole Note


September 2019 San Francisco Symphony debut, Stravinsky's Canticum Sacrum with Michael Tilson Thomas:

"...in a performance of pointillist precision that set off the vocal riches, that hardly seemed like a deficit.  Everything came off with clarity and conviction, from the opening Dedication that featured the two soloists and trombones to the almost militant exaltation of the final chorus...Baritone Tyler Duncan soared later on, in a deeply felt affirmation of belief grounded by plucked double basses."

                                                                                                                                               -San Francisco Classical Voice

​​"...beneath it all runs a vein of expressive vigor, one that was deftly brought out by the eloquent soloists, tenor Nicholas Phan and baritone Tyler Duncan, and the Symphony Chorus led by Ragnar Bohlin."

                                                                                                                                             -​San Francisco Chronicle

September 2019 Return to Chicago's Music of the Baroque for the Bach B Minor Mass with Jane Glover:

"Music of the Baroque employed four splendid singers as soloists: soprano Yulia Van Doren, mezzo-soprano Krisztina Szabó, tenor Jonas Hacker, and baritone Tyler Duncan...The bass soloist Tyler Duncan had a natural approach to uniting words and music with just the right amount of beefiness for his Gloria section solo. Et in Spiritum Sanctum found him singing brightly and with good polish."

                                                                                                                                           -Hyde Park Herald

"The soloists — soprano Yulia Van Doren, mezzo-soprano Krisztina Szabó, tenor Jonas Hacker and baritone Tyler Duncan — performed with beauty and intensity..."

                                                                                                                                             -Third Coast Review

La Jolla Music Society Summerfest 2019:

"Opening with J. S. Bach’s solo cantata Ich habe genug, BWV 82a, we explored Bach’s depiction of the soul’s eager anticipation of heavenly bliss in the arms of the Savior..in the solo cantata, Canadian Tyler Duncan’s burnished baritone communicated Bach’s deep spiritual confidence with impeccable phrasing faithful to Baroque practice."

                                                                                                                                           -​San Diego Story

Summer 2019 return to New York's Bard Music Festival:

"Baritone Tyler Duncan sang, accompanied by Erika Switzer on piano, with impressive feeling and immaculate diction four of Othmar Schoeck’s lieder. Duncan’s voice possessed a charismatic radiance, so much so that the audience demanded two graceful bows."

                                                                                                                                            -The Millbrook Independent 

May 2019 return to the Calgary Philharmonic with Nicholas McGegan conducting:

"Tyler Duncan, a singer familiar to Calgarians, rounded out the solo group, his well-projecting baritone used, as usual, with passion and style. Overall, it was the vocal soloists who most commended my attention in this pair of concerts."

                                                                                                                                           -The Calgary Herald

Brahms' Die schoene Magelone at Collaborative Works Festival, September 2018:

"Tyler Duncan’s career has been on a steadily rising trajectory and the Canadian baritone more than lived up to advance expectations.  Possessed of a refined, burnished voice with flexibility and ample strength in reserve, Duncan is a natural lieder exponent. He robustly conveyed Peter’s heroic character in the opening song, “Keinen hat es noch gereut,” and brought swaggering bravado to the ensuing “Traun! Bogen und Pfeil” and defiant power to “Verzweiflung.”

Yet Duncan was just as convincing in the more introspective settings. He deftly explored the shifting moods of “Wir mussen uns trennen” and deployed an elegant legato line in “Sind es Schmerzen, sind es Freuden,” segueing smoothly into the ardency of the second section. In the longest and deepest lied of the cycle, Duncan brought unerring sensitivity to “Ruhe, Sussliebchen, im Schatten” in which Peter sings his love to sleep, with hushed, beautifully rendered vocalism.
The keyboard part of Magelone is notoriously difficult in its demands. Erica Switzer handled all the virtuosic challenges fluently while keeping a skillful balance and never swamping Duncan in Ganz Hall’s very live acoustic."

                                                                                                                                                                    -​Chicago Classical Review

Nigredo Hotel September 2018 at Vancouver City Opera:

"Both lead singers showed great fortitude and commitment in attacking the physical and psychological demands of their roles. Tyler Duncan possesses a naturally powerful and resonant baritone voice which, combined with his meticulous enunciation, served him well in the role of Raymond. Every word he sang was audible and intelligible, even while he was running across the stage, moving heavy objects, or stripping away one layer of clothing after another. I especially admired the way he brought to the fore his character’s extremes of mood – defiant, bewildered, frightened, pleading – and his emotional vulnerability."

                                                                                                                                                                                                 -Vancouver Classical Music

 "Duncan's portrayal of Raymond was fast-paced and intense, getting more unsettled into the final climax, and his vocal performance was stunning. The part of Raymond has a huge range, both vocally and emotionally, and Duncan met it with consummate skill. In a small theatre with an onstage orchestra, it can be difficult to be heard throughout, but every note and word was clear and precise, and the character was compelling and sympathetic." 


​In recital at the Collaborative Works Festival, September 2018:

"...the lyric baritone Tyler Duncan, whose burnished voice and unobtrusive way of pointing up word meanings through the music proved just about ideal for the early Vaughan Williams cycle Songs of Travel. “A masterpiece that gets lost in the shuffle” (as Phan aptly described the English composer’s seldom-heard settings of nine poems by Robert Louis Stevenson) brought the program to a satisfying close as presented by Duncan and pianist Erika Switzer.

Unlike so many baritones, Duncan never gets growly at full volume, while his sound remains warm, pliant and even in quality throughout a wide range. He identified completely with the restless vagabond of the Stevenson texts — indeed, through his charismatic storytelling we followed his journey with rapt absorption. “Bright is the ring of words / When the right man rings them,” reads the opening line of the cycle’s penultimate song, and Duncan was that right man. The Canadian singer is right up there with other greatly promising young artists CAIC has introduced to Chicago, including Kiera Duffy, Sarah Shafer, Nicole Heaston, Douglas Williams and Jesse Blumberg."


Shostakovich Michelangelo Songs with Leon Botstein and the Orchestra Now at the Metropolitan Museum of Art, February 2018

"Never in its three years of existence have the young musicians of The Orchestra Now sounded more vibrant, rarely has a vocal soloist been as convincing and expressive as the Canadian baritone Tyler Duncan...I was so stunned by hearing this live--with such an expressive baritone--that masterly was the only adjective.  What had been singer-less excerpts before now became dark and even overwhelming epic songs.   The orchestra was not against the singer, but never ever seemed to accompany him.  "Love", for instance, isn't romantic love, but the ebullient, airy  love of wind instruments merrily tootling against Mr. Duncan's more sober Russian verse...And Mr. Duncan essayed all the songs with a rich, expressive baritone.   Like his piano music, Shostakovich understood the vocal instrument so perfectly that Mr. Duncan needed no straining, no work outside of the usual gamut.  That, however, meant within the compass of the poems, he could exercise whatever feeling--tempestuous, tormented, graceful, mysterious, with hints of Renaissance modality--that were necessary."


Early Music Vancouver Messiah December 2017

"The baritone, UBC alumnus Tyler Duncan, combined a remarkable ease of projection with smoothness of tone.  Whether in the bombast of Why do the nations so furiously rage together or the hushed intensity of The people that walked in darkness, his voice carried effortlessly over the instrumental ensemble."


                                                                                                                                                                                              -Vancouver Classical Music

June 2017 return to the Oregon Bach Festival:

"Baritone Tyler Duncan sang beautifully and movingly, especially in his last two arias, which set the stage for the Passion’s conclusion."

                                                                                                                                                                                                   -The Register-Guard

"Tyler Duncan, who also played Pilate, used a brilliantly shaded voice in his final aria that matched the richness and depth inherent in Bach’s music and text “Mache dich mein Herze rein” (“Make my heart pure”)..."

                                                                                                                                                                                                   -Oregon Artswatch


"The crushing greatness of Bach’s two extant Passion settings, which invariably make multiple appearances in the weeks before Easter, has often discouraged latter-day composers from treading the same ground. One who dared was the Swiss master Frank Martin, whose oratorio “Golgotha”

had its première in 1949. The work has received several fine recordings, notably a version on Harmonia Mundi, but until this year it had had only one live performance in New York. At Trinity Wall Street recently, the New Amsterdam Singers, an amateur chorus under the direction of Clara Longstreth, presented an intrepid revival of “Golgotha,” with the baritone Tyler Duncan impeccable in the role of Jesus. Outwardly austere, seething with inner drama, this is the only modern Passion that breathes the same air as Bach’s, and its neglect defies comprehension."
                                                                                                                                                                                                  -The New Yorker